—Review excerpt by Ariana Mamjoon:

[…] how does artist Krista Papista re-invent “folklore” and imagine a new culture? I am particularly intrigued by this question and topic because I am a musician myself in the contemporary landscape, and find resonance with artists who seek to break away from typical genres and create their own. I enjoyed the idea of “eliminating the haunting origins” of folklore, and found this topic to be very original and innovative. […]

—Review excerpt by Jane Chin Davidson:

[…] a self-reflexive writing by the author Miriam Gatt whose emotive engagement with the work of  Cypriot-based music artist Krista Papista is articulated partly through first person narrative, and partly through analysis using the thinking of other artists, such as David Wojnarowicz who is cited by Papista and poet Elena Toumazi-Rembelina. The use of the term Fucklore is a provocation, an attempt to transgress the traditional Folklore ideals for representing Cypriot culture. [Miriam] argues that Papista generates political and anarchic performances by twisting sounds, aesthetics, and ceremonies from Cypriot, Balkan, and Eastern Mediterranean traditions as the essay seeks to expound on the possibility of resistance that can derive from experimental music.

About the author:

Miriam Gatt is a writer and performer interested in theories of being, feminine spiritualism and language as tools for liberation. Her practice often uses processes of appropriation to take agency over languages employed by institutions such as the family and the church. She is the co-founder of Fisherwomxn @fisherwomxn , an initiative for publishing practices to generate critical discourse around post-colonial and feminist thought based in Cyprus. She currently lives and works between Nicosia and Berlin.